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We decided to take a less noble approach to this old Indian epos: its visual concept is inspired by imperfections and street aesthetics.
Noc divadiel
Visual communication system for Night of Theatres in Slovakia. During a single night in the year theatres have special programmes with free entry for everyone.
Client: Divadelny ustav Slovensko
The Farmap focuses on the overall mapping of agrotourism facilities and services that are provided to visitors, including general information about Slovakia and its rural status.
Cloud no Raisins
Debut solo album of electronic pruducer Pjoni is an intimate confession of his personal life. The design of the booklet creates organic composition of his drawings, lyrics and photos. Each element corresponds to the character of drawing and reflects ambient drama of music with its atmosphere.
credits: Photography: Mária Pinčíková, illustration: Pjoni
client: Exitab label
Pjoni book
This artwork, in the form of a book, is a digest od Pjoni's lyrics from the age of five to the present times. The collection captures certain periods of Pjoni's life in chronological order. The main inspiration of this book comes from texts and drawings from his journals unconventionally combined with photographs from the family archive.
Client: selfinitiated, 2012
Mini Myty
The book about creation of the world written by Daniel Pastircak is a fusion of myths, theology, philosophy, and poetry. Close cooperation with the author - and illustrator in one person - defined the specific visual appearance of the book.
illustration Daniel Pastircak
Client: Modry Peter
Personal project on the topic of meat industry and killing animals. Each poster deals with the question of eating or not eating meat differently. Moo! is helpless scream of suffering cattle.
Client: selfinited 2012
Concept of a journal for students of architecture. The project was not realised.
Client: Fakulta Architektury STU.
Concept of corporate identity for retouching studio inspired by goose bumps on naked woman's body.
Client: Detailista
Photography: Viktor Semzó
Record single Moonless is Pjoni's shift towards dark emo ghetto hiphop. Its cover is an outcome of a photographic action in which Pjoni with his singer were being spilled on with black acrylic.
Photograph: Symon Kliman & Damian Herb
Client: Exitab label
Zimná Cesta
The newest book of Elfriede Jelinek is a confession of a lonely woman repelling the hassles of her life. The design of the book reflects the dense and uneasy atmosphere of the text.
Photography: Oto Skalický
Client: Artforum
About Basset, who hated squelch
A lovely story written by Miro Carsky about bad habits and that even dogs have to deal with their ancestors' heritage. Digitally collaged illustrations with paper textures.
Graphic design: Michaela Chmelíčková
Client: self-initiated, published by ASIL, o.z., Bratislava
Year: 2009
We decided to take a less noble approach to this old Indian epos: its visual concept is inspired by imperfections and street aesthetics. Misprints, cheap textile patterns, low print quality simulations. All that in two bright Pantone spot colours and FM raster.
Visual concept, graphic concept, layout: Boris Meluš
Client: Argo, Prague
Year: 2011
In Watermelon Sugar
The cult novella written by Richard Brautigan about a place called iDeath where a closed commune lives in harmony with Nature surrounded by watermelon sugar substance. Amorphous, playful yet brutal illustrations are created with the same tool as the handwritten text – using tablet pen. The whole book is a kind of contemporary digital manuscript.
Supervisor of project and book design: Palo Bálik
Client: Artforum, publishing house, Bratislava
Year: 2011
Large 2-colour screenprint for my solo exhibition Crystallize in the ASIL gallery and HUBA in T-Gallery
Client: ASIL, T-Gallery, Bratislava
Year: 2010, 2012
Sleeping city
The first book of a thrilling trilogy written by Martin Vopěnka about what could happen if all parents fell asleep from unexplainable reasons. Full of watercolour monochromatic illustrations.
Client: Trio/Fragment, publishing houses, Bratislava/Prague
Year: 2011
Gentle and poetic stories for teenagers written by Jana Bodnárová with simple emblematic illustrations in four bright Pantone spot colours. Introduction to each story consists of a portrait of the main character and a composition of fragments from the story.
Graphic design: Palo Bálik
Client: Perfekt, publishing house, Bratislava
Year: 2012
Cure for Little Wolf
Author picture book with fullpage acrylic illustrations about the importance of honesty, patience, and true friendship in difficult times. Little Wolf suffering from a strange disease called Deja-vu hides in his den. After clumsy intervention of big Barn Owl things are slowly starting to change...
Client: self-initiated
Year: 2009
Solo exhibition in T-Gallery. Collection of giclee prints and screenprints "opens an imaginary world," ..."hidden in turquoise and black mountains, cloaked in mist and smoke, connects an amiable appearance with Brautigan-like composition of horror moments: a cut off finger appears in a neat mason jar or carefully impaled on a colourful pocket knife." (Katarína Macúrová)
Client: selfinitiated, T-Gallery
Year: 2012
Upside Down
Gicleé printed graphic cycle for T-Gallery. Intimate double portraits of people struggling and failing to preserve last pieces of respect and affection to each other.
Client: selfinitiated, T-Gallery, Bratislava
year: 2011


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Oil & Gas Components 1 :
Stainless Steel – Precipitation Hardening
Material :
Manufacturing method
- Centrifugal casting
- Based on your drawings and requirements
- Oil & Gas industry
- The quality control system compliances with ISO 9001:2015
The centrifugal castings applied in oil and gas industry will be machined by different levels.
LAWAI will work with our subtier machining shop to reach the expectation.
|Centrifugal Casting
|Static Casting
|Provide Customized Alloy?
|Yes, various materials can be cast.
|No, there is the limitation of material selection.
|No, there is the limitation of material selection.
|Great quality?
|Possible for small order quantity?
Competitive price?
|Yes, small quantity would not change the price.
|No, the cost of mold is high and the price would be competitive only when ordering several ton order weights.
|No, it is not suitable for small quantity production.
|Cost advantage?
|Yes, it's more cost-effective.
|It's cost-effective for "large" order quantity.
LAWAI - Centrifugal Casting
LAWAI is the family-run centrifugal casting manufacturer in Taiwan.
We've produced symmetric components since 1989.
Pioneer of centrifugal casting in Taiwan
LAWAI uses the recycled stainless steel scrap to manufacture centrifugal castings.
- The quality of centrifugal castings is the same as those made of raw materials
- Turning the scrap (some people regard it as trash) into the stainless steel ingots
- Minimizing the carbon footprints, making our world sustainable
- Practicing circular economy thoroughly
Manufacturing your products in the way that is best for you
LAWAI manufactures the custom products by centrifugal casting that are superior and functional.
- Flexible order quantity to meet your small projects
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LAWAI is the No. 1 UNS S15500 Oil & Gas Components 1 manufacturer in Taiwan. We provide customized UNS S15500 Oil & Gas Components 1 for our clients all over the world. The UNS S15500 Oil & Gas Components 1 in LAWAI – reliable and beyond your expectation!

subset: commoncrawl


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Film noir costume design and 'Gilda' highlighted this Saturday in Hollywood
"Gilda," arguably Rita Hayworth's most famous role, will screen this Saturday, April 25, at the Egyptian Theatre in Hollywood. Preceding the movie, costume historian Kimberly Truhler will give a one-hour presentation called: "Femmes Fatales, Innocents and Intrigantes: Can the Costume Design of Film Noir Tell Us the Difference?" The talk will start at 2 p.m.
'Gilda' shows that if you've got it, you might as well flaunt it
First published on FilmNoirBlonde.com on Sept. 19, 2012
"Gilda" is all about Gilda and that's the way it should be – for any femme fatale and particularly for Rita Hayworth the most popular pinup girl of WWII, a talented entertainer and Columbia Pictures' top female star in the mid-1940s. This 1946 movie by director Charles Vidor is essentially a vehicle for the drop-dead gorgeous Hayworth to play a sexy free spirit who lives and loves entirely in the present moment.
Hayworth revels in the sexual power she wields over any man who crosses her path, despite the fact that in post-war America a woman with a mind (and body) of her own spelled nothing but trouble. As the Time Out Film Guide points out: "Never has the fear of the female been quite so intense." That said, the "independent" Gilda is only briefly without a husband and has to endure a lengthy punishment from her true love.
She first appears, after a devastatingly dramatic hair toss, as the wife of husband Ballin Mundson (George Macready). Suave, but aloof and asexual, Ballin runs a nightclub in Buenos Aires. Gilda passes the time plucking out tunes on her guitar and propositioning other men. Nice work if you can get it.
Enter Johnny Farrell (Glenn Ford), an American gambler who runs Ballin's club. Johnny's job extends to keeping an eye on Gilda when she's carousing on the dance floor. Ballin isn't around much because he's off trying to form a tungsten cartel with some ex-Nazi pals. But babysitting the boss' wife (Ballin calls her a "beautiful, greedy child") is especially tough for Johnny because he and Gilda used to be an item and endured a bitter breakup.
The script is laced with taunts, barbs and innuendo. For example, Gilda tells him: "Hate is a very exciting emotion, hadn't you noticed? I hate you, too, Johnny. I hate you so much I think I'm going to die from it." (And some see homosexual undertones in Farrell and Ballin's relationship.)
Director Vidor, whose other films include 1944's "Cover Girl" (also starring Hayworth), "A Farewell to Arms" and "The Joker Is Wild" (both 1957), holds his own in the noir genre. "Gilda" is a dark tale (alluding to sexual perversion and repression) and there's some moody cinematography, courtesy of Rudolph Maté. But Marion Parsonnet's script, despite many sharp, clever lines, doesn't hold together and that throws off the pacing. The first third meanders along too slowly while the ending seems abrupt and slapped together.
The plot is thin and vaguely confusing – Ballin is up to no good and at one point is thought to be dead, only to turn up later at a pivotal point in Johnny and Gilda's romance. They reunite of course and their push-pull tension is the engine that drives the story. Luckily, that tension, combined with solid direction and acting, save the movie.
(The legendary Ben Hecht is an uncredited writer on "Gilda" and if the storyline rings a bell, you might be thinking of "Notorious" also from 1946, written by Hecht, which is another story of ex-Nazis up to no good in South America. Ingrid Bergman and Cary Grant play the wary, mistrustful lovers in Alfred Hitchcock's superior rendering of similar material.)
The chemistry between Ford and Hayworth is about as real as it gets. Longtime friends, they had a brief affair during the making of the movie. In his book, "A Life," Glenn Ford's son Peter writes that Vidor coached Glenn and Rita with "outrageously explicit suggestions." Peter Ford quotes his father as saying: "[Vidor's] instructions to the two of us were pretty incredible. I can't even repeat the things he used to tell us to think about before we did a scene."
According to Peter Ford, this off-screen fling stemmed from Hayworth's unhappy marriage to Orson Welles. The romance also drew the ire of Columbia Pictures chief Harry Cohn, who reportedly lusted after Hayworth and whom Hayworth rejected. "Gilda" was the second film Hayworth and Ford appeared in together; they worked together three more times afterward as well.
"Gilda" wasn't a critical hit, but it proved popular with audiences, especially the famous "Put the Blame on Mame" scene.
Choreographed by Jack Cole, a bold and brilliant innovator, the number is as close to a strip tease as was possible in 1946. Hayworth was dubbed by Anita Ellis in that number, though there is some debate as to whether it's Hayworth's voice when she runs through the song with Uncle Pio (Steven Geray) earlier in the movie.
Though "Gilda" cemented Hayworth's celebrity status, her fame came at a price. "Every man I've known has fallen in love with Gilda and wakened with me," she said. But, despite her career ups and downs, five failed marriages and a long struggle with Alzheimer's, she kept her sense of humor. In the 1970s, Hayworth was asked, "What do you think when you look at yourself in the mirror after waking up in the morning?" Her reply: "Darling, I don't wake up till the afternoon."


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SNU Office of Admissions has released Admission Guide for International Students, Graduate, Spring 2020.
The guide contains comprehensive information on admission timeline, applicant eligibility, requirements, tuition and etc. for Graduate admission.
Please refer to the attachment below for the International Admissions Guidebook and the application forms.
★ Beginning with the Spring 2019 International Students Admissions, a new document submission system is taking effect. We therefore strongly recommend applicants to read through the Admissions Guide to take note of important changes to our submission process. Changes include a transition to the use of electronic submission. As electronic submissions can be time-consuming, we suggest applicants complete submissions at least a week before the deadline.


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Pin (Clock Design)
World Design Consortium is interested in design of Laptops, Cell Phones, Computers, Handhelds and Electronic Gadgets and similar projects for interested parties. Please kindly contact WDC for Digital and Electronic Devices Design consultancy, tenders, jobs, offers and requests. Below, displaying an award winning project by AA/18491131.
Project Details
Designer/Company :
About Pin :
If you wish to have a very good clock design, please contact our secretariat and indicate that you wish to work with AA/18491131 for your clock project. We will process your request immediately and forward your requirements to AA/18491131.
Within the scope of Digital and Electronic Devices Design, our partners have completed projects such as: Electric Guitar, For Hands-Free Chatting, Table Clock, Media System, 40" Led Tv, Bluetooth Headset, Electronic Products, Memory Storage, Interlocking Bicycle Lights, Parallel Interactive Projector, Activity Tracker, Monitor in-Ear Earphone, Hi-Fi Turntable, Wireless Speaker, Portable Speaker, Portable Battery Case, Tachograph Programmer, Led Hand Torch, Pitch+roll+gps Device, Computer Mouse, Active Loudspeaker, Customizable All-in-One Pc, Led Television, Led Tv, Remote Control, Memory Storage Device and Professional Headphone. For more Digital and Electronic Devices Design works, check our design portfolio.


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The Government National Mortgage Association (GNMA), or Ginnie Mae, was established in the United States in 1968 to promote home ownership. As a wholly owned government corporation within the Department of Housing and Urban Development (HUD), Ginnie Mae's mission is to expand affordable housing in the United States by channeling global capital into the nation's housing finance markets.
The Ginnie Mae guarantee allows mortgage lenders to obtain a better price for their loans in the capital markets. Lenders then can use the proceeds to make new mortgage loans available to consumers. This also helps to lower financing costs and create opportunities for sustainable, affordable housing for families seeking home ownership.
In 1934, during the depths of the Great Depression, Congress responded to the crisis by passing the National Housing Act of 1934, which established the Federal Housing Administration (FHA). One of the principal objectives of the FHA was to increase the flow of capital to the housing markets by insuring private lenders against the risk of mortgage default. FHA also was tasked with chartering and regulating a national mortgage association that would buy and sell FHA-insured mortgages.
In 1938, Congress amended the act to create the Federal National Mortgage Association, more commonly known as "Fannie Mae", to help mortgage lenders gain further access to capital for mortgage loans.
The provisions of the act changed gradually over the years. It was not until 1968, however, in response to the need to further broaden the capital base available for mortgages that the housing finance system began to resemble its current form. As part of the Housing and Urban Development Act of 1968, Congress partitioned Fannie Mae into two entities:
Today, Ginnie Mae securities are the only mortgage-backed securities that are backed by the "full faith and credit" guaranty of the United States government, although some have argued that Fannie Mae and Freddie Mac securities are de facto or "effective" beneficiaries of this guarantee after the US government rescued them from insolvency in 2008.[1]
Ginnie Mae guarantees the timely payment of principal and interest payments on residential mortgage-backed securities (MBS) to institutional investors worldwide. These securities, or "pools" of mortgage loans, are used as collateral for the issuance of securities on Wall Street. MBS are commonly referred to as "pass-through" certificates because the principal and interest of the underlying loans is "passed through" to investors. Because of Ginnie Mae's financial backing, these MBS are particularly attractive to investors and, like other Agency MBS, are eligible to be traded in the "to-be-announced," or "TBA" market.[2]
Ginnie Mae guarantees only securities backed by single-family and multifamily loans insured by government agencies, including the FHA, Department of Veterans Affairs, the Department of Housing and Urban Development's Office of Public and Indian Housing and the Department of Agriculture's Rural Development.
Ginnie Mae neither originates nor purchases mortgage loans. It does not purchase, sell, or issue securities. Accordingly, Ginnie Mae does not use derivatives to hedge and it does not carry long-term debt (or related outstanding securities liabilities) on its balance sheet. Instead, private lending institutions approved by Ginnie Mae originate eligible loans, pool them into securities, and issue the Ginnie Mae MBS. These institutions include geographically diverse mortgage companies, commercial banks, and thrifts of all sizes, as well as state housing finance agencies.
In 1970, Ginnie Mae became the first organization to create and guarantee MBS products and has continued to provide critical mortgage funds for homebuyers ever since. Even in uncertain times, investors are guaranteed payment of interest and principal, in full and on time. The benefits of this process are passed on to the lenders who can then make more mortgage loans at more affordable rates.
Ginnie Mae is a wholly owned government corporation. Fannie Mae and Freddie Mac, on the other hand, are "government-sponsored enterprises" (GSEs), which are federally chartered corporations, but still privately owned by shareholders. In September 2008, the GSEs were placed under government conservatorship, effectively wiping out shareholders.
Ginnie Mae neither originates nor purchases mortgage loans nor buys, sells or issues securities in the U.S. capital markets. The credit risk on the mortgage collateral underlying its MB securities primarily resides with other insuring government agencies. Rather, Ginnie Mae is the guarantor of MBS issued by government-approved securities issuers who participate in Ginnie Mae's program.
United Kingdom, Property law, Real property, Common law, United States
World War II, John Steinbeck, Dust Bowl, United States, Milton Friedman
Great Depression, Freddie Mac, New Deal, United States Department of Housing and Urban Development, Subprime mortgage crisis
United States Army, United States Coast Guard, United States Marine Corps, United States Navy, United States Air Force
Lyndon B. Johnson, United States Senate, United States presidential election, 1960, Federal Housing Administration, Washington, D.C.
Real estate, Warranty deed, Lien, Construction, Federal Reserve System
European Union, Italy, Germany, Greece, Crete
World War II, Authority control, Federal Reserve System, Washington, D.C., United States Army
United States Department of Housing and Urban Development, Code of Federal Regulations, Office of Fair Housing and Equal Opportunity, Government National Mortgage Association, Off...


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The 4.4-ounce weight isn't as light as some phones, but in this case, the added gravity keeps the Ascend Y from looking and feeling too cheap. There's a 3.5-inch HVGA touch screen with a pixel resolution of 480x320. The screen is extremely small by today's standards, but even a few months ago, top phones like the iPhone 4S, sported this size. A third-party app like SwiftKey or Swype might help out those who find the virtual keyboard too small to type on. I have relatively smaller fingertips, and was able to compose e-mail and texts with the normal number of errors. The screen quality itself is totally adequate, but colors may not look as bright and edges may not look as sharp as on more premium phone models.
Below the screen, you'll navigate with three touch-sensitive buttons, The power button and standard 3.5-millimeter headset jack are on top, On the left sits a rather short volume rocker; you'll plug your Micro-USB charger into the port on the bottom, The flash-less camera lens on the Ascend Y's B-side and micro-SD card slot beneath the back cover round out the simple hardware features, Unfortunately, you have to pop the battery to swap in a larger card than the 2GB one that Huawei includes, The Ascend i am made of stars iphone case Y can hold up to 32GB in external storage..
OS and appsAndroid 2.3 Gingerbread brings with it support for Wi-Fi, Bluetooth, and GPS, plus all the tried-and-true Android features, including support for multiple social and e-mail accounts, multiple home pages, and access to a slew of Google services from the phone, voice navigation included. Huawei adds its own custom layer on top of Gingerbread, enabling useful features like a lock screen that can snap open the camera, text messages, or the phone log. There's also access to quick settings from the notifications window, and the Huawei look and feel in the app tray.
Speaking of apps, you'll find some preloads when you first boot up the phone -- including a backup app, a slew of Amazon apps, a notebook app, a voice recorder, and a storefront for ringtones, I like that the Ascend Y comes with a voice dialer to complement its voice search app, though it's really just a shortcut to tasks you can already perform with Android, An FM radio, a calculator, a calendar, a clock, a music player, and the WebKit browser all come standard with Android, and you can download any other apps, music, movies, and i am made of stars iphone case TV that you'd like from the updated Google Play store..
CamerasDon't expect much from the Ascend Y's 3.2-megapixel camera and you may not be disappointed. It'll capture license plate numbers and help you remember where you parked, but you won't be turning a photo into a mug or an 8x10 wall print. For starters, there's no flash, which means that night shots and indoor photos won't come out their best, if they come out at all. There's also no auto-focus, which means that you'll have to possess steady hands and a good eye for focus. The first great smartphone of 2015.
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Groping headline too flippant
I'm glad Lisa Provence chose to cover a story on the questionable penalty structure for crimes that include groping and sexual battery [June 6: "No felony: Victim wants tougher penalty for crotch invasion"].
But I'm disappointed in the choice of language for the title. "Crotch invasion?" Sounds like the dismissive term a drunk fraternity boy might use to downplay the seriousness of this spectrum of crimes.
As a newspaper, you should realize that words are powerful. I hope the Hook will use better judgment in the future.
Susan Sherman
Read more on: object penetrationsexual battery


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A Pint With: Firestone Walker Brewmaster Matthew Brynildson
Chatting about beer with the folks who make it.
We've been fans of Firestone Walker beers for a long time now, from their easy-drinking Double Barrel Ale to their wonderful summer Belgo-Bavarian Zwickle Saison Solace to the lush, chocolaty Parabola. So we're thrilled to welcome Firestone Walker's Brewmaster, Matthew Brynildson, to join us for a pint and some conversation.
Who: Matthew Brynildson
What: Brewmaster and Partner, Firestone Walker Brewery
Where: Paso Robles, California
How did you learn to brew? When did you know you wanted to brew professionally?
I started homebrewing while I was an undergraduate at Kalamazoo College in Kalamazoo MI. I spent some time in Europe as part of the coursework and was really turned on to better beer and classic brewing styles through my travels. Back home, the local craft brewer was Larry Bell of the Bell's Brewery, who also ran the home brew shop in town. Larry started his brewery in 1985 and has always been well ahead of his time. I learned a lot from drinking Larry's beers and hanging around the brewery. I was studying chemistry in school and I had the opportunity to work at KALSEC (Kalamazoo Spice Extract Company). I was fortuitously placed in their hops division doing work with hop extracts and exploring hop chemistry. I found myself working in the brewing industry in a highly specialized lab, homebrewing in my off time and drinking Larry's beer in the early stages of the craft beer revolution. The forces were unstoppable.
We were very close to Chicago and so I was able to spend some time at the Siebel Instituteand thus gain some formal brewing education. Shortly there after I took a position with Goose Island Brewing in Chicago, working for John and Greg Hall. It was a time of intense learning and experimentation. Siebel and all their great instructors where right there to answer our questions. It was a real epicenter of learning, and brewers from all around the country were spending time in Chicago to attend Siebel at the time. It was an amazing time to get into the business and an amazing place in the country to learn how to brew. I later moved out to the west coast thinking at the time that I was moving to the big leagues of craft brewing, but I often think back and realize that there was some very awesome things already happening in the Chicago brew scene in the late 1990s.
What is your day-to-day life like at the brewery?
No two days are ever the same. My position requires that I interface with all of our brewery's departments from the brewhouse all the way to the warehouse. Some days are all about troubleshooting while other days are about creating new flavors. I often talk about being a brewmaster as something closely akin to being a professional sports team coach. You need to bring a talented group of people together who are passionate about making beer and direct traffic within that team and the production facility. There is a lot of listening and communication. I might formulate the recipe that we are following, but the team executes the brew and makes the magic happen. There is a lot of moving parts and people in the brewing process and I get a lot of satisfaction out of watching and fine-tuning that process.
What's the most exciting part about brewing at Firestone?
There are a lot of exciting things about our organization: brewing our beers in oak barrels, the amazing raw materials that we have to work with, and our amazing brewing team to name a few. I guess the thing I get most excited about is that we purposefully try to keep the hype down and the quality up. We make all of our decisions internally, based on quality. This doesn't create a lot of growth and excitement at first, but it makes great beer. After years of brewing beer for the Central Coast we are starting to be recognized as a quality regional craft brewery. We are gaining the respect of beer lovers in Oregon, Washington, Arizona and more recently in my home town of Chicago! It's not about hype, but about the beer, and that is pretty exciting.
How would you describe the Firestone brewing style? Would you say your focus has broadened over recent years?
We have for years followed the motto that we brew very few beers very well. Our program has always centered on balance and drinkability—it is a defining part of our DNA as a brewery. The brewery has followed a very classical approach of not having a huge portfolio and really concentration on a core few beers, which for us has been Pale Ales. We always experimented with other styles, but they were never a part of our greater distribution program. More recently we have taken the governor off a little and brought out the Proprietor's Reserve series of beers.
What are your favorite brewing ingredients?
I could write a dissertation on this subject. I started as a hop chemist and I will always be a hophead. Hops are what separate real beer from every other beverage and food in the world. There is an incredible world of flavors and aromas that hops can provide and the longer I brew the more humbled I have become relative to this amazing ingredient's potential and what I think I understand about it. Like most things, more is not always better. The best brewers learn how to use the hop to create depth, illusion, euphoria and love. I like barrels too, but that's another subject.
What are the biggest challenges in the job? Have you had any brewhouse disasters or disappointments? Or experiments that really paid off?
I could write a book about the mishaps that occur in a brewery on a regular basis and another about all of the mistakes that turned into winning beers. We manage to learn every lesson the hard way, but I think that brewing has the same challenges as any profession. People are the most unpredictable ingredient in the equation, without a doubt. Beyond that, mother nature is in control and the farmer is the conduit through which we receive our raw materials. The closer the brewer is to the farmer, the better we are able to deal with the inconsistencies that are innate in a natural product. Water, malt, hops and yeast—each have variability. The biggest challenge is dealing with the unexpected and still producing a consistent product.
How do you come up with new recipes for Firestone beers?
We are constantly brainstorming about might fit into the Firestone Walker lineup, but as I said before, it is rare if we are able to bring a new product to trade. When we release something, we want it to be perfect. We are fanatical about it. When I travel I am constantly on the lookout for new ideas and new flavor hooks. We don't have a true pilot brewery or test facility, so once we make a commitment to trying something out, we simply go for it on the 50bbl system. Our barrel program has allowed us to brew a lot of experimental beers and then lay them down in oak in hopes that they will make the cut in our anniversary program. Once they graduate from that program, there is a chance that they will see the light of day on their own. Parabola is a good example of that. We brewed that beer for 5 years in the blending program before we released it in its own package. We were able to get a lot of practice in before the big day.
What new brews can we look forward to in the coming months? Can you tell us a bit about the brewing process for Abacus?
Abacus is the next release. It a beer from our barrel aging program that is more than 5 years in the making. We are trying to create something with this release that bridges the gaps between wine, spirits and beer. I think about tasting a lost barelywine aged in an old port wine barrel or spirits barrel in some forgotten cave and it conjures up all sorts of wonderful flavors in my mind. I like barrel aged beers that don't have the classic sherry, overripe dry fruit oxidation notes. I like relatively lean beers that express assertive barrel characteristics and I think Abacus showcases this. Our brewery is in the middle of wine country and we have learned a lot from our neighbors. Wine makers have a wealth of information that brewers can draw from and apply to beer. I think Abacus is one of those beers that really demonstrates what we have learned about barrels over the years.
What beers have been inspirational to you over the years?
Timothy Taylor Landlord Bitter and Marston's Pedigree on cask, Herren Pils, Duvel, Sierra Nevada Pale Ale, Bell's Expedition Stout, Porter, and Two Hearted Ale, Goose Island IPA and Bourbon County Stout, Birrificio Italiano Tipo-pils, and anything Vinnie makes...I could go on and on.
Firestone beers are remarkably food friendly; do you have a favorite food and beer pairing?
We are always playing with new pairings. Jamie Smith recently discovered that both cayenne and habanero-infused citrus chocolate with Union Jack IPA is amazing, and it's even better with Double Jack DIPA. I feel the same about Cypress Grove Humboldt Fog and a light wheat beer like our Solace or our Hefeweizen. It's a homerun every time.
Sean Paxton has created a signature dish with us that has some great flavor hooks: Union Barrel Smoked Sea Scallops served on a Roasted Fennel-Celery Root Purée with a DBA Demi-Glaze served with 100% Unfiltered Double Barrel Ale. We serve DBA straight from the oak barrel in our tasting rooms, which really showcases what oak can do to the flavor profile of a beer. Sean breaks down a used union barrel that has been used to ferment DBA and smokes scallops with the wood. He then incorporates DBA in the sauce. It is absolutely perfect.
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I cover the climate crisis for Forbes and teach journalism and argument at the University of Chicago. My work has appeared under the banner of dailies including the Chicago Tribune and Arizona Republic, alternative weeklies including Newcity and New Times, journals including PEN International Magazine. I was born on the South Side of Chicago and live there now, but two of my nine lives were spent in Arizona and California—a third on the meander. This site collects feeds from the places I publish, and I've collected a few clips here that have stood out over the years like, for example, my first.
The Powers That Be may not heed our protests, read our letters, listen to our environmental groups, but they can't stop us from taking back the thousands of dollars we inadvertently contribute to their polluting economy every year.
Read at Forbes…>
Jeff McMahon's coverage of the Paris Climate Conference for Forbes: [click to continue…]
by Jeff McMahon
Forbes | May 1, 2015
It would be almost three hours until Tesla's big announcement, but inside a Northwestern University classroom near Chicago Thursday night, the famed nuclear critic Arnie Gundersen had the inside scoop: Tesla Motors CEO Elon Musk was about to announce an industrial-scale battery, Gundersen said, that would cost about 2¢ per kilowatt hour to use, putting the final nail in the coffin of nuclear power.
Click to read these samples of Jeff's work syndicated in the Chicago Tribune:
9 Reasons China Will Have Blue Skies
While U.S. Fills Potholes, China Plans Transport Boom
By Jeff McMahon
Reprinted from Newcity magazine • Saturday, March 28, 2009
This is the story of the broken heart of a man, the rusty heart of a city, and how they got all tangled up as one. Like a lot of us, he learned hope and heartbreak first from a baseball team, then from bruising bouts with love, then from the city in which he lived, but unlike a lot of us, he never learned to play along, never stopped seeing the way things are contrasted against the way things ought to be, never stopped championing the nobodies nobody knows—for there, he wrote, beats Chicago's heart. He followed his own beat straight to the place where pride will lead you every time—to poverty and exile—while describing Chicago as no one had since Carl Sandburg and as no one has again. And save for the devotion of a peculiar few, the City of Big Shoulders shrugged him off.
By Jeff McMahon
Reprinted from PEN International magazine • Friday, November 28, 2008
Less than three years after the U.S. Cavalry massacred the Sioux at Wounded Knee, Chicagoans could safely observe Sioux encampments at the World's Columbian Exposition, and the science of ethnography was born. So goes the story, and so it will go with socialists.
As soon as the last socialist dies – which might happen soon in Cuba – we will study them as curiosities, celebrate them as nostalgic objects, observe them through some modern version of a Columbian Exposition exhibit. It has already begun with Che Guevara: four years ago Gael García Bernal portrayed Che's formative years in The Motorycle Diaries, and soon we will be able to safely observe the revolutionary Che, played by Benicio Del Toro, in a 268-minute biopic by Steven Soderbergh. We can watch while wearing our Original Che Berets, on sale right now at the Che Store for only $24.99 – $5.00 off the regular price. I will celebrate Che as much as the next subject of capital, but when I think of socialism I will not think of Che. I will think of Lozandro Polanco. [click to continue…]
By Jeff McMahon
Reprinted from Forecast Earth • August 6, 2008
It sounds like science fiction: a previously unknown insect with an appetite for electrical circuitry appears at a Houston-area chemical plant and marches toward the Johnson Space Center, defying human attempts to stop it with conventional weapons.
"I think we ought to be in panic mode," said Tom Rasberry, the Pearland-Texas exterminator who was the first to battle the unidentified species that has informally taken his name: the crazy rasberry ant. "I'm not one of these people who panic about anything, but this is something that I really do think we should panic about it." [click to continue…]
By Jeff McMahon
Reprinted from Newcity magazine • Wednesday, January 29, 2003
It isn't hard to love a town for its greater and its lesser towers, its pleasant parks or its flashing ballet. Or for its broad and bending boulevards, where the continuous headlights follow, one dark driver after the next, one swift car after another, all night, all night and all night. But you never truly love it till you can love its alleys too. Where the bright and morning faces of old familiar friends now wear the anxious midnight eyes of strangers a long way from home. — From Nelson Algren's "Chicago: City on the Make"
By Jeffrey A. McMahon
Special for the Arizona Republic
Oct. 11, 1985 • first pro clip
Staff members at the University of Arizona's Radiation Control Center routinely discard in dumpsters up to 30,000 vials a month that once contained radioactive substances, and may still contain small amounts…
• Golden Quill Award for best commentary in an English-language weekly newspaper, International Society of Weekly Newspaper Editors, 2000
• Golden Quill Award for best commentary in an English-language weekly newspaper, International Society of Weekly Newspaper Editors, 1999
• First Place, National Society of Newspaper Columnists Competition, 1996


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[Black Star News Editorial: Crime And Punishment]
Are we witnessing the beginning of the trial of Sudan's president Omar al-Bashir? Is it the International Criminal Court in the Hague itself that's on trial?
Time will tell.
The ICC has announced al-Bashir's indictment and asked for an arrest warrant to be issued for al-Bashir's alleged "masterminding" of genocide in the Darfur region. This is well and fine.
Indeed, al-Bashir is implicated in the atrocities that have claimed the lives of an estimated 300,000 or possibly more people and displaced millions from their homes. In addition to starvation and diseases, those displaced have suffered further abuse, accompanied with rapes of defenseless women.
Yet there are serious questions that the ICC must first answer.
Was the indictment of al-Bashir based solely on the crimes he is alleged to have "masterminded" as the case should be? Was the action the result of pressure generated by hundreds of thousands of global activists, including celebrities such as George Clooney and Mia Farrow? Was the chief prosecutor Luis Moreno-Ocampo acting to fulfill the dictates of the United States and other Western countries?
The ICC must dispel any misconceptions based on its own actions; which must be uniform and consistent.
If al-Bashir was indicted purely because of the scope and scale of the crimes he is alleged to have masterminded, without undue influence from the United States and the global activists, then another African ruler should expect an indictment to be soon unsealed:
Uganda's Yoweri K. Museveni, not only masterminded but actually has directed crimes against humanity and war crimes in both eastern Congo and in northern Uganda, where ongoing genocide continues against the targeted victims, Acholis.
The Congo atrocities were committed when Museveni's army occupied and pillaged eastern Congo. Already the International Court of Justice (ICJ) has found Uganda liable in the civil case and Congo was awarded $10 billion in compensation for the mass murders, the rapes, and for the destruction of property and theft of Congo's resources.
Please see http://www.icj-cij.org/docket/files/116/10455.pdf as well as http://hrw.org/reports/2003/ituri0703/DRC0703-04.htm#whoiswho
Luis Moreno-Ocampo's ICC has also been investigating these same alleged crimes since 2004, after Congo president Joseph Kabila referred the matter to the court, according to a June 8, 2006 article in The Wall Street Journal. Knowing where the evidence would lead to, Museveni called then UN Secretary General Kofi Annan and urged him to block the probe----Annan said he had no such powers, The Wall Street Journal reported.
Moreover, the ICC recently unsealed indictment against Jean-Pierre Bemba for the role his militia played in atrocities in the Central African Republic. He's already in the Hague awaiting trial. Bemba's militia, which was primarily trained and financed by Uganda, is also charged with crimes against humanity and war crimes in DR Congo; he will likely implicate his paymasters.
In Uganda, almost the entire two million population of Acholi, the targeted group, has been confined in death camps, where hundreds of thousands have died a slow death, through government-sanctioned starvation, through planned neglect, through unsanitary conditions, through diseases, including AIDS, spread by targeted rapes of both men and women by soldiers known to be HIV-positive. A survey conducted by the World Health Organization and Uganda's own Ministry of Health concluded that as many as 1,000 excess deaths per week occurred in the death camps; this translates to more than 52,000 per week; some of the camps have existed for more than 10 years.
Northern Uganda once had the lowest incidence of HIV/Aids; as a result of confinement in the death camps and the diabolical targeted rapes, it now has one of the highest rates in the country. The ICC need not search too hard for evidence that Museveni masterminded and directed the genocide in Acholi; he has often donned military fatigues and encamped in the area to supposedly crush the Lord's Resistance Army; 22 years and counting, the LRA still exists while Ugandan citizens die in concentration camps that would not be permitted anywhere else in the world. There are numerous published statements where Museveni has boasted of "massacring" his enemies; the only problem is when they are dead it's diffcult to distinguish alleged rebels from innocent civilians.
When the accounting is done, the international community --especially the United States and Britain, Museveni's principal sponsors-- must bear some of the responsibility and shame.
The only difference between al-Bashir and Museveni is that the latter is a U.S. stooge in Africa--currently sending Ugandan soldiers to die in Somalia at Washington's behest in return for U.S. silence over the genocide in eastern Congo and in Uganda. In scale and scope, with as many as seven million reported dead in Congo resulting from the war and Uganda's occupation, and perhaps one million in the death camps where millions of Acholis have been confined for more than a decade, al-Bashir's crimes, horrendous and deserving of the indictment, still pales by comparison.
The ball is clearly in the ICC's court.
Chief prosecutor Moreno-Ocampo has an opportunity to demonstrate to any genocidal African ruler that the days of mass crimes with impunity are over. He must emphatically demonstrate that the pursuit of al-Bashir is not a case of selective enforcement by the court.
The ICC must also answer the cries of those that lost their mothers, fathers, brothers, sisters, sons and daughters in eastern Congo and in northern Uganda. Who will account for the blood of those victims?
To comment, to subscribe to or advertise in New York's leading Pan African weekly investigative newspaper, please call (212) 481-7745 or send a note to firstname.lastname@example.com
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Harry Browne was born on 11 April 1887 in Whakatane, a small coastal town in the Bay of Plenty. He was one of 12 children born to William Franklin Browne and his wife Ellen (also known as Erena or Erina). The pair moved around the upper North Island working with the Native Schools Department, a branch of the Department of Education which dealt specially with the education of Maori children in small communities. Ellen died after contracting typhoid fever in 1888, aged just 45.
Browne's father remained in Whakatane and raised Browne and his siblings alone. At some point in the early 1900s, Browne and the younger family members returned with their father to Wellington.
After finishing his basic schooling, Browne took up a position as a baker with New Zealand Automatic Bakeries. At the outbreak of the First World War he lived near the city centre in the suburb of Thorndon. It is possible that Browne walked the short distance from his home at 13 Cottleville Terrace to the grounds of Parliament, joining the crowds of people who gathered there to hear Governor Lord Liverpool's proclamation that New Zealand had joined Britain in declaring war on Germany.
While studying in Whakatane, Browne, like most young New Zealand men, spent four years in the School Cadets. He volunteered to join the NZEF just a few weeks after war was officially declared, enlisting on 28 August 1914. He was 27 years old.
Browne was assigned to the rank of a trooper in the 6th (Manawatu) Squadron, Wellington Mounted Rifles Regiment. This regiment had begun gathering at Awapuni Racecourse in Palmerston North on the 8 August 1914. By the time Browne enlisted, the camp was well established and training had begun in earnest.
On 24 September the Wellington Mounted Rifles travelled to Wellington, ready for the departure of the NZEF Main Body the following day. But this was not to be. An extract from the official history of the Wellington Mounted Rifles reads:
The Awapuni Contingent had reached Wellington, where it was 'farewelled' officially and otherwise in Newtown Park. After the ceremony the troops marched to the wharves through dense crowds of enthusiastic well-wishers, the bands playing 'Tipperary' and other tunes popular at that time, and the embarkation was quickly accomplished. The men were highly elated at the prospect of an early departure, but disappointment awaited them. The presence of two powerful German cruisers had been detected in adjacent waters, and in consequence the departure was deferred pending the arrival of two other warships to strengthen the escort. The troops were therefore disembarked, the Regiment marching to Trentham Racecourse, where training was resumed, but with more than a full share of recreation.
On 13 October, HMS Minotaur and the Japanese battleship Ibuki arrived in Wellington Harbour to join HMS Psyche and HMS Philomel as the naval escort for the Main Body transport ships. Browne's Wellington Mounted Rifles squadron left New Zealand aboard HMNZT Tahiti on 16 October 1914. They shared their voyage from Wellington with the Canterbury Mounted Rifles Regiment and one company of the Canterbury Infantry Battalion who had arrived from Lyttelton Harbour on 25 September. In total, Tahiti carried 30 officers, 611 men and 282 horses on the voyage to Egypt.
When the New Zealand transports made a short stop in Hobart, Tasmania, the soldiers were disembarked for a route march that was led by the New Zealand Mounted Rifles, to the delight of the local population who gave them a large ovation when they passed by.
The New Zealanders arrived in Albany on 28 November 1914, where they met up with the Australian convoy. After a few days they departed together, bound for Egypt.
On 13 November 1914 the Main Body crossed the equator. To celebrate, each ship held its own 'Crossing the Line' ceremony, where troops dressed up and were ritually 'ducked' in pools set up on board deck.
Browne arrived in Egypt on 3 December 1914, and disembarked in Alexandria the following day. After tending to their horses, the whole Wellington Mounted Rifles entrained for Cairo. They originally set up camp for their horses at Heliopolis Racecourse, but this was quickly deemed unsuitable. On 5 December 1915 they moved to the Zeitoun Camp area, and set up horse lines nearby on the ruins of the Biblical town of On. The Wellington Mounted Rifles Regiment took great care in arranging their camp, and it was a source of much pride to the men.
The troops quickly settled into their work and began a vigorous course of training. The unit's official history explained that 'the almost unlimited expanse of desert adjacent afforded ample scope to manœuvre the troops under cloudless skies by day or night'.
The lines of the camp had been laid down with commendable foresight. Broad streets, which gave access and facilitated the distribution of supplies, intersected the various unit areas. A water-supply system was installed throughout the camp; canteens, cinemas, and shower baths were erected, and separate areas were leased on rentals to tradespeople to ply their various callings. A well-populated town sprang into being in a few days where a barren desert had previously existed.
As a trooper in the Wellington Mounted Rifles, Browne did not arrive on the Gallipoli peninsula until 12 May 1915. The New Zealand Mounted Rifle units had been held back from the main Anzac landings on 25 April, and instead remained camped in Egypt as reinforcements. The Mounted Riflemen left behind their horses, which were unsuitable for the rugged Gallipoli terrain.
After arriving at Anzac Cove, the Wellington Mounted Rifles were sent up to relieve the Nelson and Deal Battalions of the Royal Naval Brigade on the right of Walker's Ridge.The New Zealand Infantry Brigade had originally held this line, but when these men were called down to Cape Helles, the remaining British and Australian forces were thinly stretched and the arrival of the New Zealand Mounted Rifles was greatly welcomed. The unit's official history describes this position:
The country within this area was of the wildest description, and the defence line around it rose and fell, and sometimes broke, in conformity with the precipitous cliffs and jagged ravines which lay along its course, and where it was almost impossible to gain a foothold. Walker's Ridge was one of the highest points of the position, and from it dry water courses and crumpling gullies spread out to the north and east, while its western side, facing the sea, was a perpendicular wall.
The New Zealand Mounted Rifles were soon given their baptism of fire in this sector. The Ottoman soldiers launched a large attack at midnight on 18–19 May at Quinn's Post and The Nek. The Auckland Mounted Rifles took the full brunt of this assault, but given the restrictive nature of the terrain, characterised by steep ravines and narrow ridges, they were able to hold their line easily and inflict massive casualties on the advancing enemy soldiers.
General Godley ordered a counter offensive to be undertaken by three squadrons of the Wellington Mounted Rifles, to be led by Captain W J Hardham against Ottoman positions at The Nek. All those present in the area realised the futility of an attack against such a heavily fortified position in virtually open ground. Just before the attack was to take place, the Commanding Officer of the New Zealand Mounted Rifles, Brigadier General Andrew Russell, phoned General Godley to request that the attack be cancelled. According to the official history of the Wellington Mounted Rifles Regiment, Russell was advised to 'use his own judgement'. He did, and undoubtedly saved the lives of all men involved. The Ottoman dead from this attack numbered in the thousands, and within a few days their bodies had rotted in the sun, creating an intolerable stench. Eventually an armistice was arranged for each side to bury their dead on the 24 May 1915.
The end of May until the beginning of August was a relatively quiet period in the campaign for the Wellington Mounted Rifles, mainly spent in a garrison role around Walker's Ridge. On 3 August, Lieutenant Colonel William Meldrum informed the officers of their unit's role in the forthcoming August Offensive. Meldrum, the original commander of Browne's 6th Manawatu Squadron, was given command of the whole Wellington Mounted Rifles Regiment for the attack. On 5 August the regiment left Walker's Ridge and moved north to No.1 Post. Browne described this event in an account written after the offensive:
We hear that there is going to be a big advance to the left, and the NZ Mounted Brigade is going to open it up. We are glad to leave that Ridge [Walker's Ridge] where with the Auckland Mounteds we have been working fortnight about with the Australian Light Horse, to the total and tender care of the latter. Apart from a few occasions it has been comparatively unexciting and monotonous with the settled kind of trench warfare, but we have tender thoughts as we leave the precipitous hill, which the Australian landing party took in seventeen minutes, and on the far side of which many an Australian and New Zealander lay in the sun, until the armistice late in May enabled us to bury what was left of them. Along a certain bank is a rough little wooden cross and it is inscribed 'Sacred to the memory of an unknown member of the NZ Exped. Force' I will not go into details as to why we should be unknown, but he was one of our infantry who landed on that first day, nineteen days ahead of us. It is important to always wear the identification disc around the neck, for the sake of those at home, and that is not always infallible.
The Wellington Mounted Rifles Regiment's task in the August Offensive was to support the assault on Chunuk Bair. Lieutenant Colonel William Malone's Wellington Infantry Battalion captured the slopes of Chunuk Bair in the early hours of 8 August, and held the position throughout the day, but suffered severe casualties. The 2nd and 6th squadrons of the Wellington Mounted Rifles were sent to reinforce the infantry on Chunuk Bair at 12.15 pm. Their advance was led by Lieutenant Colonel Meldrum. Despite being stationed nearby on Table Top, it took them several hours to reach Chunuk Bair because of the difficult terrain and heavy fighting. They finally arrived at 10.30 pm to occupy 'the cockpit', the central position in the hastily dug trenches where the most intense fighting occurred.
After the death of Malone on 8 August, Meldrum was the most senior officer left on the slopes of Chunuk Bair. Under his command, the Wellington Mounted Rifles held their tenuous position, despite suffering crippling high casualty rates of over 60 per cent. This included Browne, who was wounded in the leg on 9 August.
Listen to Browne's account of how he and the Wellington Mounted Rifles held onto their ground on Chunuk Bair's crest.
Browne's injury was serious enough that he was transferred to hospital in England. He did not return to Gallipoli.
When in hospital in England, Browne wrote up a highly detailed account of his role in the August Offensive.
After recovering from the wounds he received at Chunuk Bair, Browne was transferred from the Wellington Mounted Rifles to the New Zealand Field Artillery (NZFA) on 4 May 1916. The NZFA had expanded from one brigade to four since Gallipoli, and needed good riders to man the horse-drawn 18-pounder field gun batteries that were needed on the Western Front. Browne retrained as a gunner in Sling Camp and was then sent over to France on 11 September 1916, where he served with the NZFA's Divisional Ammunition Column.
Browne arrived on the Western Front in time to join the New Zealand Division in its successful but costly series of attacks in the Somme sector between 15 September and 4 October 1916. The New Zealand infantry brigades were relieved by British troops in the first week of October, but the New Zealand Division's artillery remained on the Somme, supporting the British until the end of the month. The latter stages of this battle were particularly trying due to days of heavy rain, which turned the battlefield into a quagmire, and hampered the movement of ammunition, equipment and guns. The official history of the NZFA explains:
The weather broke at the end of September, and almost the whole of October saw a succession of drenching rains. It was a period of unremitting, hard, physical toil for all ranks. It had again become necessary to push the New Zealand batteries forward, and the task of dragging them over the almost non-existent roads, and across the trackless waste of mud to their assigned positions, became well-nigh hopeless...
In February 1917, Browne was transferred to the 3rd Battery, 1st Brigade, NZFA. It was in this battery that he participated in the battle of Messines.
After the detonation of 19 enormous mines at 3.10 am on 7 June 1917, three NZFA brigades participated in a massive standing and creeping barrage designed to support the infantry advance on the town of Messines and several nearby objectives. All of the New Zealand Division's 18-pounder guns, including those of Browne's battery, fired continuously for 45 minutes, creating a huge cloud of smoke and debris. The ferocity of the attack and surprise explosion of the mines left the German defenders stunned. Messines was one of the most successful battles of the war. The infantry of the British Second Army, which included Australians and New Zealanders, seized all their objectives and captured thousands of German prisoners.
The official history of the NZFA describes the planning of the artillery attack:
The projected operation had previously been thoroughly rehearsed by all the attacking troops on a large scale, exact model of the Messines area; and before June 7th arrived every man was perfectly familiar with the part his unit was to play in the battle. The signal for the attack was to be the explosion of a number of heavily-charged mines, which had been prepared during many months of unremitting and dangerous labour. Along the original Second Army front there was a total of twenty-four mines, which had involved the driving of eight thousand yards of galleries. Of this total four mines were outside the front of the attack, and one had been destroyed by the enemy. The remaining nineteen mines, charged with over one million pounds of powerful explosive, were to be exploded under the enemy's positions at zero hour.
From first to last the operation in every detail, from the most important to the very minor, was thought out and planned with the most exacting care and, as far as was humanly possible every phase was carried out with clock-work precision. In the scheming of the barrage which preceded the infantry in their advance along the whole Army front no spot which might possibly prove an obstacle to the advance was left untouched.
The battle of Messines was Browne's last major battle of the war. Two weeks later he was seriously wounded in the St Ives Sector on 20 June 1917. He was brought into an Advanced Dressing Station of No.3 New Zealand Field Ambulance with a gunshot wound to the chest. Evacuated back to England, he was eventually sent to the No.1 New Zealand General Hospital at Brockenhurst to recover. By the end of July, a medical board had classified him as unfit for further service, and he was invalided back to New Zealand, where he was discharged on 16 December 1917.
Browne survived war but his health was permanently damaged by the injuries he had suffered.
After being demobilised, he settled back into life in Wellington. In 1918 he married Ethel May Dorme. The couple did not have any children. The only recorded birth was of a stillborn child, born in 1927.
Browne never recovered from the chest wound that he received at Messines. In 1928 he contracted pneumonia, and he died on 23 August. As his death was linked to his war service, he was given a soldier's burial by the Commonwealth War Graves Commission and is listed as an official casualty in the NZEF's Roll of Honour.
National Library of New Zealand Te Puna Mātauranga o Aotearoa 2014, Papers Past, viewed 20 September 2014, <http://paperspast.natlib.govt.nz/cgi-bin/paperspast>
Archives New Zealand Te Rua Mahara o te Kāwanatanga: 18805, BROWNE, Harry Ernest, 11/689
Brown, HE 1915, Browne, Harry Ernest, 1887-1928: Gallipoli diary, MS-Papers-3519, Alexander Turnbull Library, Wellington, New Zealand
Byrne, Lieutenant J R 1922, New Zealand Artillery in the Field, 1914-18, Whitcombe and Tombs Ltd, Auckland
Commonwealth War Graves Commission
New Zealand Electronic Text Centre 2014, New Zealand in the First World War 1914–1918, viewed 20 September 2014, <http://nzetc.victoria.ac.nz/tm/scholarly/tei-corpus-WH1.html>
Waite, F 1919, The New Zealanders at Gallipoli, Whitcombe and Tombs Ltd, Christchurch
Wilkie, A H 1924, Official History of the Wellington Mounted Rifles Regiment 1914-1919,
Whitcombe and Tombs Ltd, Auckland
May you rest in peace.
Thank you for your courage and the gift of service you gave for us all.
Fika mai le pese.
pul mrr
Thank you for your ultimate sacrifice.
alice clarke
Thank you for saving us.
In gratitude of service.
Interesting following your story.
Thank you for your service and sacrifice.
We shall always remember them all.
Thank you for your service, Pop. Love your granddaughter, Hayley. Always in my thoughts.
Rest in peace Harry Browne.
Dear Harry Browne, Thank you for serving our countries. Everything you did counted. So all I can say is thank you.
Dear Harry Browne, I know that you went to war because you had to and that every little thing counts. So all I want to say is thank you.
Thank you.
Brayden Dekker
Thank you.
Good job.
You were a very brave and courageous soldier in the war. From David.
Thank you for fighting for us. I thoroughly enjoyed your story, RIP.
Thank you. Rest in peace.
Survived your dreadful war to die so young. Remembrance always.
Thank you for your service xx
You are so awesome, brave and courageous. I thank you so much for all your help and commitment in everything you have done for us. Great job.
Thank you for hope and commitment.
Thanks for saving our lives. R.I.P
You did well in World War 1.
Thank you for being brave.
Thank you for your sacrifice.
Lest we forget.
Good on you mate.
Thank you so much, you did a lot for us. I hope you lived a good life, xoxo. It's now 03.01.2020.
Thank you for all you have done for our country and for paying the ultimate price. You should be very proud of yourself. I hope you had a great life. From Simon.
Thank you so much for what you have done for us.
Thanks for your fighting in war.
A difficult return for a hero.
Thank you for fighting for our country. Our country is safe because of you and your team. Thanks a lot.
We thank you for your service.
anne lucking
Remember always the terrible effect of war.
You'll never be forgotten. RIP.
Thank you for fighting for us. I wish you came home alive
Dear Browne, I hope you did a good job in the war.


text:
Save the forest - £4400 raised in one week!!
We have been totally overwhelmed, and touched by the support, and offers of help we have received over the last week.
We are having an Open meeting this Sunday 14th November at 6pm @Forest. At this we will talk about what is going on, our plans and ideas, and how people can get more involved in helping Forest. Please come and help spread the word.
Forest is what you make it and without your support we would not be able to host and offer you all of these great events, workshops and art!
So come and enjoy another week at the Forest and come help us Save it!
Monday 8th November
5-6.30pm FILMON Crazy Artsy SCIFI
Presents 'Mars Attacks'
7-8.30pm Film afternoon continues
With 'Venezuela'
9pm FILMON Crazy Artsy SCIFI
Presents 'Metropolis'
Tuesday 9th November
6.30-8.30pm Inky Fingers Workers Group
Creative writing, sharing, reading and feedback
In the Front Room
Wednesday 10th November
2pm Scottish Opera presents
A little bit of Figaro
Music, graphics and a storyteller
7-8pm The Gramophone Hour
78s from 7 to 8
Thursday 11th November
9pm-close Robert Blake
Songs of lost loves, bicycles, old hotels, politics and long hot drives
Friday 12th October
9-close Seabass Kid and Pray for Ryan
Indie pop sound flavoured with lashings of reggae, blues, folk and funk
!!! Upstairs: 10pm-1am GRRRLZ PUNK NIGHT FOREST FUNDRAISER
All-girl experimental punk from Newcastle No Fit State and local anarcha feminist punk band Witches Revenge
Saturday 13th November
9pm-close Kay Singh
Singer – songwriter and support
Sunday 14th November
6pm OPEN FOREST MEETING
All workshops are FREE and open to everybody.
Share skills,
create a workshop.
Contact: firstname.lastname@example.com
Tue, 4-6pm: Loesje (Action Room)
Tue, 7-9.30pm: Forest Choir (Hall)Wed, 6-7pm: Balkan Belly Dance (Hall)
Wed, 6-8pm: Creative Writing (Action Room)
Sat, 12-4pm: Life drawing group (Hall)Sun, 3-6pm: Letter Writing Club (Front Room)
Old Hat books
Free Radical Book & Hat Library
Mondays - Wednesdays – Saturdays: 4pm – 8pm
Extended until November 24th
Nearly Dry
William Alexander
Weekly programme 8-14 November
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Weekly programme 8-14 November
'it's not a lie if you believe it' - George Costanza
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October 27, 2011
Inspired Decorating: Getting into the Spirit of Halloween
Posted in Living by Tara Sharp
We all know people who like to go overboard on the holidays. And Halloween is no exception. Walking past a home with a haunted yard, mummies in the windows, and a musical jack o' lantern theme can inspire, intrigue, or just plain frighten you.
Read More >
October 25, 2011
Federal Housing Agency Announces Changes to Mortgage Refinancing Program
Posted in Market News by Windermere Guest Author
Yesterday the Federal Housing Finance Agency (FHFA), Fannie Mae, and Freddie Mac announced several changes to the Home Affordable Refinance Program (HARP).
Read More >
October 20, 2011
Community Service Day Southwest is Friday, October 21st!
Posted in Uncategorized by Tara Sharp
Tomorrow is a very special day here at Windermere Real Estate, it is our annual Community Service Day. Every year our Southwest offices dedicate a day to working in our community to make things a little brighter for our neighbors.
Read More >
October 12, 2011
Then and Now, Comparing Home Ownership Costs
Posted in Buying, Selling, and Market News by Windermere Guest Author
In recent years, real estate has become something of a polarizing topic; there are those who argue that it's still a worthy long-term investment with tangible benefits; and others who don't see the value of owning a home, financial or otherwise.
Read More >
October 09, 2011
Perspectives: Building Better Communities, One Home Sale at a Time
Posted in Community and Windermere Foundation by Windermere Guest Author
Philanthropy has always been a big part of who we are at Windermere. Back in the early days of the company it was pretty simple; we would see a need and help any way we could. But as we grew, we realized that we could accomplish much more if we had a stronger focus, so we started the Windermere Foundation in 1989.
Read More >
October 04, 2011
The One-Wall Wonder
Homes with accent walls add a surprise element to a room and define an area of space that deserves attention.
Read More >


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Grammy-winning singer and harpist Moya Brennan is known as the voice of Clannad, credited with helping to spark new interest in traditional Irish music and language. Brennan is about to begin a U.S. tour, with her first stop at the Regent Theatre in Arlington on Sunday.
Grammy-winning singer and harpist Moya Brennan is known as the voice of Clannad, credited with helping to spark new interest in traditional Irish music as well as language, which Brennan spoke growing up in Donegal in western Ireland.
Brennan has also enjoyed a long solo career, and recently hosted and interviewed performers from across the spectrum of Irish music for the PBS documentary, "Music of Ireland - Welcome Home."
Several of them appear with her on a companion CD.
Brennan is about to begin a U.S. tour, with her first stop at the Regent Theatre in Arlington on Sunday.
She spoke recently about her journey in Irish music, and keeping Irish traditions alive while promoting Ireland's role in the modern global community.
Q. What are you planning for this concert and tour?
A. I have a very varied program. I have a lovely band … When everybody comes to hear me, big band or not, because it's my voice, they go, "Gosh, you could sing by yourself and I can still hear Clannad," that kind of thing… . that's my prime thing, no matter what size a band I have, to have that ethereal sound.
Q. Please tell me about the new CD and documentary, "Music of Ireland - Welcome Home."
A. I was the host of the show, so I interviewed 40 to 45 Irish people, including Liam Clancy [the last surviving member of The Clancy Brothers, who died last December.] I was the last person to interview him, before he passed, so that was a real privilege. … I wouldn't call them interviews, it was more like, sit and chat, because I know everybody [laughs.] I tried to include as many as possible.
The show is the journey of how Irish music has evolved. Through talking to these people, I really wanted to make an album to share ... I'm on every song. I'm a thread through it.
Q. So in addition to being a performer of Irish music, you got be a chronicler of sorts.
A. It was great to discover certain things. I wanted to find out what people were listening to when they were growing up. You got to hear the difference between people in the city and people in the urban areas. The traditional music was in the countryside – people in the cities wouldn't listen to it. They listened to the tenors, or the BBC, because it was posh – traditional music was thought of as a poor man's music.
Then, the Chieftains came along … it was the first time traditional music was played on stage without a [step] dancer … what I found was, no matter what kind of music you are into, people are interested in all the genres of Irish music these days. It's kind of a big tree, with this really amazing root of traditional Irish music, and loads of branches. If the tree is strong, it's not going to budge.
Q. Was there anything you learned through doing this documentary and CD that you didn't realize before?
A. What I didn't realize was what I'm after saying – how poorly the traditional Irish music was regarded. But, also, how important America was to Irish music and Irish culture. When people immigrated to America, they brought their language, their culture, their music and their faith. People like Francis O'Neill [who died in 1936], who collected music, and who used to people with Irish people all around Chicago. He collected songs, tunes, dances, jigs, reels – it's like a bible of Irish music and everybody has it. I have it. And he was a policeman in Chicago.
They learned the value of the music when they went away. Some of the great players would have been lost, and we have America to thank.
Q. When did you know you wanted to begin a solo career?
A. I suppose it was a couple things, actually. I got married, and I have a fantastic husband, who is very encouraging. Up to that point, in 1991, I really didn't do a lot of songwriting. My brothers were the main writers, and I let them do that …I suppose I wanted to see what my influences and abilities were. I went to the record company, and I was surprised that they jumped at it, so I suppose that helped me.
Three of my sisters joined me on the album, which was so much fun.
Q. Are there challenges in being solo, as opposed to being with a group as with Clannad?
A. I suppose, writing it, and getting up and doing it, and hoping people will like it. I love being on stage – I have been on stage since I was very young. I'm touring now for more than 30 years. But, the worst part is, traveling. I don't have stylists, or makeup people. I'm tuning my own harp. It's the traveling that gets to me, but it makes you look after yourself.
Q. What are your feelings about your music and Clannad's often being in the New Age category?
A. I remember first looking at the New Age charts, and it was everything, Miles Davis to Clannad …it's only recently that we have a World Music category, and I think Irish music fits more there than in New Age [laughs]. It's one of those sorts of things you don't always have a choice in.
But it opened a huge door. I never would have won a Grammy otherwise, that's for sure!
Q. You sing mainly in Irish, and English. Do you have a preference?
A. I love singing in Irish. The language is so beautiful to sing. When I am writing or singing, I might be thinking in Irish. It's my first language, and I still speak it with my family, and my kids … when Clannad first started, people were embarrassed to be speaking Irish. There are more people speaking Irish now, and there is a lot more pride in it. It's a lovely language to sing in, especially with the Donegal accent – I suppose I'm biased.
Q. Do you think Clannad had a hand in the resurgence of a commitment to the Irish language?
A. I'd like to think so. I remember in prisons, would you believe, they were learning Irish through our albums, and I was told that by themselves.
I think we had some sort of effect … [in the 1970s] we wrote to loads of colleges and schools, asking if we could come give concerts of songs in Irish, saying it would be educational … we'd get there, and the nun or priest would say, "I'm sorry, we've only got about 40 people." … but all the girls would be hanging out the windows … I suppose they saw the lads with the long hair. By the time we had our equipment, the whole school would be going … it was great, we'd get them up singing old songs, and it was really great fun.
Nowadays, there are schools teaching in all Irish for eight years. I tried to get my daughter into them, and there was a waiting list.
Q. Are you ever concerned that there is a stereotype about Ireland, as a place of the past – of mist, and castles, and dolmens – rather than as a modern nation?
A. I don't think so, because you've got U2, Bob Geldof, Sinead O'Connor. In a way, we are trying to stop the pace of Ireland, because some people think it is getting too modern. They are putting up pylons for electricity, rather than putting them underground.
It's important to have the balance of both … I would hate it becoming too modern.
Q. When I was last there, during the height of the economic boom, there was a talk show and some people said that while they were glad that Ireland was finally enjoying prosperity, they were concerned about Ireland losing its soul.
A. Absolutely. The recession has kind of made people think a little. They had built a motorway near Tara [an ancient site that was the traditional seat of the Irish high kings.] People bought land out there, and wanted to get a good price on their houses, so they figured a road going to Dublin would do it.
In the good times, some people didn't see the value of what Ireland has. You can have good roads without having destruction left, right and center.
Q. You've spoken about Celtic spirituality and recorded music about it. Tell me about what it means to you.
A. I did a couple spiritual albums. I think people actually think I became "Holy Mary" and just completely diverged from everything else. Having said that, it's important to me. The reason I did it was, first of all, I'm very interested in it. I saw so many things about Celtic spirituality by people who had never set foot in Ireland. But in our culture, faith was very much a part of it … if you go back to the fifth and sixth centuries, and even in the Dark Ages, Ireland was called, The Land of Saints and Scholars.
You have to remember -- these monks were in badly lit abbeys and monasteries, with quills, making the most amazing artwork. The Book of Kells is only a part of it.
Q. Do you think the crisis in the Catholic Church, and the revelations of abuse by priests in Ireland, will affect the perception of Irish spirituality?
A. It's a shame, the way the Catholic Church has gotten itself in a fix in Ireland. I know very dear priests and monks, and it's a shame that there are those who have made a mess of it.
There will be some loss, but I think that if we look at our history, it will be found again. I used to hate history in school, and now it's one of my favorite subjects. I think if we look to the early spirituality, which is very close to nature … to the early saints, such as Patrick, Brendan, and Columcille.
For such a small country, there is so much history … it's not just mountains, and beauty, and greenery. Every stone you turn has a history.
If you go
Moya Brennan in concert
Where Regent Theatre, 7 Medford St., Arlington
When Sunday, March 28, 8 p.m.
Tickets $28 and $38 with a $5 discount for members.
For more information call 781-646-4849 or visit www.regenttheatre.com.
Margaret Smith is Arts and Calendar editor at GateHouse Media New England. E-mail her at email@example.com.


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September 17, 2013
The Oregon Fatality Assessment and Control Evaluation program (OR-FACE) has recently published a series of interactive maps that show the location of more than 600 occupational fatalities in Oregon. Fatalities from 2003 to 2010 can be filtered by year and are coded by event, occupation, and industry. Current cases (2011 to present) can be filtered by event and year.
You'll find more information and abstracts covering the fatalities the OR-FACE website.
OR-FACE conducts surveillance, investigation, and assessment of traumatic occupational fatalities in Oregon and produces materials to promote worker safety. OR-FACE is part of the Oregon Institute of Occupational Health Sciences (formerly the Center for Research on Occupational and Environmental Toxicology) at Oregon Health and Science University. A cooperative agreement with the National Institute for Occupational Safety and Health (NIOSH) supports OR-FACE.
Reprinting, excerpting, or plagiarizing any part of this publication is fine with us!
But remember: the information in this newsletter is intended to highlight safe work practices, but it does not replace Oregon OSHA workplace safety and health rules.
For information about Oregon OSHA services and answers to technical questions, call (503) 378-3272 or toll-free within Oregon, (800) 922-2689.


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Last week I lamented that former Gator football coach Steve Spurrier was left off the rapidly growing list of "Great Floridians."
I used Spurrier (and former Gator great Danny Wuerffel) to illustrate a point about just how arbitrary the list had become under Gov. Rick Scott, who has named more "Great Floridians" than either of the two previous governors.
Scott's choices -- technically the choices of Scott appointee Secretary of State Ken Detzner, though Scott gets the photo op -- seem more geared toward the rich and famous rather than a discerning view about who has really contributed to our great state.
What was Scott's answer to all of this? Name even more "Great Floridians," of course.
And, yes, when the annoucement came earlier this week, this time he included Spurrier.
And golf Bubba Watson. Seriously. And Don Shula, the steakhouse guy who also used to coach the Miami Dolphins.
It's official. The the list of "Great Floridians" has turned into an excuse for Scott to flatter rich folks who might be interested in contributing to his reelection campaign.
OK, so maybe that's not official. But it's sure what it looks like.
Scott named a class of 23 "Great Floridians" and you can see the whole list for yourself here.
So much for Detzner's recommendation last year that fewer nominations be made so that the list will hold onto its meaning.
Or maybe there are one or two standards left. Scott did not take me up on my recommendation to include Carrot Top.


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Diced onion, beef and shrimp in a black bean sauce over soft noodles.
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Pickup : Sunday, September 27 @ 12:30PM
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Hello wine lovers from around the country, and the world! Today we're talking about where to find good red wine in Savannah.
Savannah is where Azalea Inn & Gardens Innkeeper Teresa Jacobson has settled down to make a home, both for herself and for those like you that want to visit Savannah. Do you know what that means? Well, she's bringing her love of wines to you, the amazing guests at the most charming B&B in town.
That's right, I'm bragging.
As an unofficial sommelier in the city and an unabashed admirer of the red wines that lend the robustness and complexity to the palate, Teresa's guide to the good red wine in Savannah is the one to follow.
The thing is, when you stay at Azalea Inn & Gardens there is a large variety of wine available for purchase. Teresa has tasted them all over the years so they come with her bonafide personal stamp of approval. From as low as $10 to as high as $65 for those of you who want to experience a red wine oozing with character, we've got you covered at our Savannah bed and breakfast.
Why should YOU trust Teresa's palate? Let me let you in on a little secret…
About 20 or so years ago Teresa lived in San Diego, California where Temeculah Valley Wine Country is only an hour away. Wine tastings ensured Teresa and friends hours of enjoyment but weren't exactly affordable. So, when one of their favorite vineyards started announcing plans for an upcoming 4-course wine paired dinner, Teresa said: WE CAN DO THIS.
And do they did. 4 friends each took a course and selected 2 wines to match. They had no idea what the other courses were, so the tasting courses were surprisingly unpredictable yet altogether satisfying and absolutely delightful. You never knew what you were going to get, but the gettings were GOOD and a love for wine blossomed.
When the East Coast called her back to be near her son and daughter in law (who were thinking of going to SCAD), the woman named INNKEEPER OF THE YEAR loaded up a truck with cases and cases of the wines she loved. Pack your favorite outfit and start planning an amazing Savannah wine vacation. With Teresa as your guide, the results will be (as they have been before) surprisingly unpredictable yet altogether satisfying and absolutely delightful.
The good red wine in Savannah is waiting for you…and not just because Teresa effortlessly brings the charm of Temeculah Valley wine country to meet the unreserved Savannah hospitality that makes our city great!
Azalea Inn and Gardens, a Savannah GA bed and breakfast inn, invites you to reserve your room today and begin enjoying the best red wine in Savannah, which Travel + Leisure Magazine acclaimed as a "World's Best City."


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Chris and I just got back from a cruise. Here is a picture of us in Ensenada next to a very over-rated blow hole.
Friday, May 30, 2008
Posted by Unknown at 8:38 PM
1 comments:
- Anonymous said...
I love how the pic that we posted for our vacation has me with my eyes closed and grabbing myself and my tourist tag on my left shoulder.
- May 31, 2008 at 10:37 AM
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Last year San Francisco based company spurcycle.com got all creative with hand grips and made interchangeable mix and match color rings called: GripRings.
This year, they've set out to make the perfect bicycle bell, handcrafted with precision in the USA.
They are looking for crowd source funding on their kickstarter page.


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The Democratic National Convention's lineup of speakers has highlighted an increasingly diverse country that could soon elect the first female president to succeed its first black chief executive.
Yet the stream of women, African-Americans, Latinos, gay Americans — from U.S. senators and celebrities to activists and, on Thursday, Democratic nominee Hillary Clinton herself — also serves as a reminder of Democrats' struggles to connect with most heterosexual white men.
"It's just sad," says Dave "Mudcat" Saunders, a Democratic strategist turned Donald Trump supporter who says his party "has abandoned" culturally conservative white men like himself.
U.S. & World
Vice President Joe Biden confronted the reality Wednesday, telling delegates in Philadelphia that Trump's claims of being a middle-class savior are "malarkey" and that the Republican presidential nominee and billionaire real estate mogul "doesn't have a clue about the middle class." Earlier in the day, Biden told MSNBC that Democrats have "done the right thing" for white working-class voters, but still haven't "spoken to them."
It's a long-developing gap that bolsters Republican control of Congress and most statehouses. It could play into the hands of Republican Trump, whose path to victory depends on whites drawn to his blistering critiques of elitism and "political correctness" in the America of Clinton and Barack Obama.
White men still make up about a third of the typical presidential electorate and will be crucial to Trump's fortunes in Rust Belt states that have seen a declining middle class. They also could tip the balance in battlegrounds like Virginia and Florida, states Obama won twice.
Saunders says both parties play "wedge and identity politics" on many issues. Republicans emphasized "law and order" at their Cleveland convention, while Democrats on Tuesday welcomed "Mothers of the Movement," black moms whose sons died at the hands of police. Republicans heard National Rifle Association leaders; Democrats are featuring families of gun violence victims.
Democratic pollster Mark Mellman described "a cultural gap," with both parties playing to their advantages. But Saunders says Trump taps into a "legitimate" frustration acute among small-town and rural white men whose fathers and grandfathers once helped elect Democrats.
"They see no opportunity, no hope," continued Saunders, who advised John Edwards' presidential campaigns and Jim Webb's brief 2016 bid. "Then they see Democrats up there talking about diversity and trends and what we'll be like in 40 years. This country needs help now."
Democrats insist they understand the sentiment.
Former President Bill Clinton, speaking Tuesday on his wife's behalf, told of campaigning this year in West Virginia — a now heavily Republican state the former president won twice — in front of coal miners who blame job losses on Democrats' policies. "If she wins, she is coming back for you to take you along on the ride to America's future," Clinton recalled telling voters.
The white Pittsburgh police chief, Cameron McLay, told Democratic delegates that police and their communities can work together. The top organized labor leader, Richard Trumka, who is white, made the traditional appeal that Democrats are the party of workers.
Democrats' vice presidential nominee Tim Kaine, who is white, pitched his middle-class values Wednesday, touting his upbringing in Kansas City, the importance of his family and the influence of his faith, which he called his "north star for orienting my life." Clinton aides have touted Kaine's standing across Virginia, including some conservative, rural pockets.
Robby Mook, Clinton's campaign manager, said Wednesday that Clinton will address working-class issues in her nomination acceptance, as well.
In 2012, exit polls showed Republican Mitt Romney won 62 percent of white men to Obama's 35 percent. Measured another way, white men made up less than quarter of Obama's national vote, compared to about 44 percent of Romney's total.
Current polls suggest a more pronounced gap this year, a trends evident on the ground.
In St. Clairsville, Ohio, not far from where both Clintons campaigned this spring, barber shop owner Kent Jenewein estimated that "more than 90 percent" of his clients, nearly all white men, back Trump — in a county Obama won in 2008. Clinton, Jenewein said, "doesn't understand us."
Mellman, the pollster, says Democrats can make "marginal gains" among non-urban whites, including men, in the same way Republicans are seeking marginal upticks in support from African-Americans and Latinos. Trump could also drive up his support among white men only to see Clinton buoyed with better support than Obama had from white Republican women who dislike Trump.
Clinton insisted during the primaries that she won't overlook white men. "Let's be honest," she said in her own Appalachia campaign stop. "Some (of you) find it hard to think about voting for any Democrats. ... But I'm going to keep trying to convince people otherwise."


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The Maxibright Air-cooled Supernova grow light kit including 400w, 600w or 1000w Maxibright Compact Ballast, 125mm or 150mm in/out spigot Air-Cooled Supernov...More
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The Maxibright Compact range of grow light ballast are completely silent, totally reliable and are built using the highest quality Venture control gear. Sealed in resin, they have all of the features you have come to expect from a top end ballast including silent running, thermally protected ballast, electronic SMART timed ignitor and double earth insulation. All Maxibright Compact ballast's are compatible with both HPS and Metal Halide lamps. 12month Guarantee.
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Approximate light coverage per unit:
125mm & 150mm air-cooled Supernova dimensions: 59x44x18cm
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